Stevie J, Sean 'Diddy' Combs and Deric "D Dot" Angelettie attend
Stevie J, Sean 'Diddy' Combs and Deric "D Dot" Angelettie attend Compound Entertainment And Malibu Red GRAMMY Midnight Brunch 2013 at Bagatelle/STK on February 9, 2013 in West Hollywood, California.
Johnny Nunez

Music Sermon: We’ve Been Sleeping On Bad Boy's Dream Team

Over the last several weeks, there’s been an onslaught of Top 40 and 50 music conversations. A (truly misguided) top 50 rappers list led to people in the music industry and entertainment industry creating their own (including a really solid one from Mike Tyson), even a Top 40 Best Dressed/ Flyest Rappers of All Time list (immediately rendered void by Sean John “Preserve the Sexy” Combs sitting in the bottom three). In the midst of the listing frenzy, Timbaland put forth his Top 50 producers. Notably missing: any of Bad Boy’s famed Hitmen squad, the collective responsible for the overwhelming majority of the label’s hits in the mid-late 90s.

First, the Hitmen “captain,” Deric “D. Dot” Angelettie, reacted.

Then, the head Hitman himself, Puffy, bigged his squad up.

Puffy and D. Dot were absolutely right to say, “Um, remember us? The folks who kept the parties poppin’ for almost a decade?” The Hitmen are among the architects of the East Coast hip-hop sound. For the better part of the ‘90s, Bad Boy’s in house production team carried the label to dominance by mastering the marriage of hip-hop and R&B, creating the remix, and pushing rap to the top of the pop charts. However, it’s normal for them to be left off of classic producer lists specifically because they took hits from the ‘80s (yeah yeah) and made them sound so crazy (yeah yeah), instead of pulling obscure samples and/or creating complex sound structures like, for example, RZA. A producer friend once critiqued a Bad Boy song by dropping the needle on a 12”, and remarking, deadpan: “That’s how D. Dot produced that track.” But this is an unfair critique; if you go beneath the surface, you'll find that the Bad Boy Hitmen were talents with their own styles, true musicianship, and the elusive understanding of the anatomy of a hit. And yeah, there was a lot of shiny pop and disco samples, but there was some real New York street ish in there, too.

Full disclosure, I’m a little biased about the Hitmen. I worked in Reggie Osse’s (aka Combat Jack’s) entertainment law office when his firm represented the full roster of producers. I remember when VIBE’s feature on the producers, “Mo Money Mo Problems,” hit stands in August 1998, and gushing to Mario Winans (who I had a paralyzing crush on) about how great he looked in the spread. I then went on to work at Bad Boy, so definitely not objective, but there’s plenty of sound evidence to support my argument. Production collectives don’t hit like they used to, but from the Motown and Stax era through Hip-Hop’s rise to the mainstream in the ‘90s and early ‘00s, a tight, dependable team of talent was often the secret ingredient in a label’s winning streak. Bad Boy would have lockouts at NY’s Hit Factory studios, and later Puffy’s own Daddy’s House studio, with a nonstop rotation of producers, talent, friends, etc falling through sessions. It was fertile ground for collaboration.

Season 3 of Netflix’s award-winning Hip-Hop Evolution looks into Bad Boy’s dominating era in music, starting with Biggie, but propelled by a distinctive Bad Boy sonic. Puff shared his motivation for forming an in house production squad: “I was always a big fan of Quincy Jones, not as a producer but as an orchestrator. I never saw him play an instrument, and that empowered me because I didn’t play any instruments (for the record, Quincy is a legendary jazz trumpeter, but had to stop playing after a brain aneurysm). I saw him giving direction, I was good at giving directions,” he explained to series narrator Shad. “The Hitmen believed in me and my leadership, so you had that cohesive sound, so it’s coming from one brain; our collective brain.” The formation of the Hitmen - of the Bad Boy sound - was the key to Bad Boy surviving Biggie’s death in 1997.

In 2016, D-Dot, Nashiem Myrick and a few other Hitmen sat with their former lawyer Combat Jack to talk about their legacy at the A3C conference. D-Dot compared the producers in their prime with another legendary NY team. “We started believing that we were the Yankees. We were puttin’ up home run hitters...everybody was contributing...Stevie would walk in with something. Then other teammates came; the next thing you know, Mario Winans joined [the team] later on. Then, shit got even crazier ’cause Chucky [Thompson], Stevie, and Mario are musicians. Like, for real musicians—five, six instruments apiece. Then to watch the three of them battle each other. Like, ‘Okay, we gotta make D-Dot or we gonna make Nash’s beat hot’...So Mario’s playing drums, Chucky is playing the bass, and Stevie’s on the keys—playing at the same time; they didn’t rehearse.”

The squad taught each other new techniques, played off of each other’s strengths and pushed each other to be better. “It made for great competition...That’s how the hits got made.”

Over the full course of Bad Boy’s run there’ve been more Hitmen than Wu Tang members - even Kanye was rumored to have joined the production team for a hot second several years ago. However, not all Bad Boy producers are Hitmen; that’s a special distinction appointed by Puff himself. As with other collectives, sometimes individual credit was skipped for the sake of the bigger picture. But also, in true team style, several Hitmen often worked on a track, with one laying the foundation, working with the artists on their vocals, and one closing out as the anchor with final touches. Today, we’re focusing on some of the key members in the lineup at its strongest: Deric “D Dot” Angelettie, Ron “Amen-Ra” Lawrence, “Stevie J” Jordan, Nashiem Myrick, Chucky Thompson, Mario Winans, and Rashad “Ringo” Smith.

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THE CAPTAIN: Deric “D-Dot” Angelettie
THE ELDER: Ron “Amen-Ra” Lawrence

Several of the original key Bad Boy staff members and label collaborators originally met at Howard University. Deric "D Dot" Angelettie (aka the Mad Rapper) promoted parties with Puff, and he and another day one Hitman Ron "Amen-Ra" Lawrence started as a rap duo called Two Kings in a Cipher.

Deric is universally recognized as the head of the original Hitmen, second to only Puff, and had his hands in almost everything the collective did not only as a producer, but the label’s head A&R: figuring out what track worked for whom, coaxing performances out of developing artists, and guiding new producers coming into the fold on how to develop Bad Boy’s Midas touch. As a producer in his own right, he and partner Ron Lawrence were behind some of Bad Boy’s biggest hits.

Even though Deric was at the helm in the shiny suit era, he prefers a harder sound than the bop-inducing tracks. “I’m more grimier hip hop, that’s where I’m from.” Deric has explained. “But I love to dance and I love money. Puff said ‘If you can combine those two with what you do, you can be an asset to me.’”

While the dance and bling tracks are what most immediately come to mind with Bad Boy’s chart-topping era, there was way more in the catalog than the soundtrack for bottle poppin’ and partying. The Mad Rapper reminded the A3C crowd in the Combat Jack conversation, “What people don’t realize is that we probably had some of the grimiest hip-hop records in history...along with them joints that popped on top.”

He was talking about songs like classic posse cut “Money, Power, Respect,” a power anthem flipped from a ‘70s jazz fusion song, complete with DMX barks for that extra umph.

And “Where I’m From,” the haunting track Deric and Ron gave to Jay-Z after Puff passed it up, (and then got mad, even though he passed it up). 20 years later, the song still prompts that screwface only a disgusting beat and flow can inspire.

But even when moving on the dark side, a necessary Hitmen trait was the ability to walk the line between street, soulful and sexy. Shout out to Carl Thomas and Too Short.

There was one track D-Dot absolutely did not want to touch because it was too on the nose: Mase’s “Feels So Good.” (The sample from Kool & the Gang’s “Hollywood Swinging” is the one my producer friend criticized.) He tried to pass it to Nashiem or Stevie, but Puff insisted he produce it.

Even though Deric and Puff weren’t always on the same page with musical styles, he has always been one of the most vocal defenders of the team’s talents and the Hitmen legacy, as he was back when folks were accusing them of just dropping the needle on the record. "Let me see you go up in the studio, coach vocals, mix a record, and add all the necessary shit you need to get them three thousand eight hundred [radio] spins a week," he told VIBE in 1998. "Puffy can do that. Deric Angelettie can do that. Stevie J. can do that. Nashiem can do that. Ron Lawrence can do that. That's what makes us producers."

While Deric’s sonic heart was sometimes more in the streets, his partner Ron Lawrence - who could just as easily move between the two works - often kept the party stuff going even when working outside of the label.

THE GRIMEY ONE: Nashiem Myrick

Day one producer Nashiem Myrick is rarely one of the first - or second, or third - Hitmen that comes to mind, but he was one of Big's favorites - probably because he translated Big’s energy to track so perfectly. Nah started as a studio engineer, and started being pulled into sessions until he became part of the official first Hitmen lineup, along with his partner Carlos Broady. He’s lowkey been responsible for some of the grittier songs out of the camp. I mean, this is one of the hardest tracks of all time. Period. Till this day. The song was originally for Mary J. Blige’s “My Life,” but Big went too hard with his verses. They put an interlude version on Mary’s album (with Keith Murray), and when the full version dropped it was perceived as a shot fired at 2Pac, inciting the infamous East Coast/West Coast beef between Bad Boy & Death Row (the song was written and recorded long before Pac was shot at NYC’s Quad Studios). Song lore aside, it’s still one of Big’s best (and still my go-to when I need motivation for anything - public speaking, a negotiation, a run, a drug heist, whatever).

Nashiem got (and gets) very little light, despite the classics he’s put up. He was never one of the “faces” of the camp, but he’s said that wasn’t his goal. “I didn’t care about radio...Radio wasn’t in my domain. I just wanted to rock the streets, rock people’s minds...I just wanted to be the hardest dude out there.” And he did that without losing or compromising the trademark Bad Boy energy. (Nash’s songs are also some of Puff’s greatest adlib moments.)

Some of your favorite ugly Big joints are Nash’s. (This is also one of my favorite uses of this Al Green sample.)

He was also behind Lil’ Kim’s most Biggie’ish song.

The thing about being part of a collective is, there’s work that nobody will know you did because it was credited to the collective name, or to just one of the producers, or, in the early years with this team, sometimes just Puffy. Nash has said he produced one of the best Mariah remixes of all time (with Puff, of course).

Nash did put some radio points on the board under his own name.

And here, with the help of Stevie J.

His R&B direction was even still kinda hard – a reminder that the Hitmen were one of the earliest and most adept teams at using hip-hop tracks under R&B voices.

Almost all of the Hitmen also had East Coast hip-hop classics outside of the Bad Boy ecosystem, and Nash had one of the most NY joints ever - the inspiration for his eventual company name: Top of New York Productions. You got beef, I got beef.

THE R&B SPECIALIST: Chucky Thompson

DC native Chucky Thompson was part of the Hitmen before the Hitmen were the Hitmen, but he isn't discussed as much as his counterparts. That may be because his work is better known in R&B circles - two of Chucky’s biggest career markers are his work on Mary J Blige’s seminal sophomore album, My Life, and on Faith’s debut album. But he was a core element of Bad Boy’s foundational hits.

He joined the Bad Boy affiliation to work on Usher’s debut, which LA Reid had turned over to Puff to oversee. There was no real Bad Boy production team of any kind yet at this point.

Look at little itty bitty baby Ush!

Chucky became a core producer for the label, and would float from session to session in NY’s Hit Factory (Bad Boy’s studio home before Daddy’s House), adding keys here, guitar there, a drum track there. The beginning of the collaborative nature of the eventual team.

He really found his groove when he started working with Mary. Puffy initially wanted him to do maybe one song for My Life, but Chucky ended up spearheading the production of the whole project.

(This is my sh*t.)

The producer met Faith while working on Usher (Faith and Donnell Jones wrote “Think of You,”) and then continued working with her on Mary’s album. When Puff signed her, Faith told Chucky she wanted him to produce her album. His church-taught musicianship and her church-bred vocals were a perfect fit. She heard a track Chucky was working on for Total, who Puff was developing, and snatched it up.

Chucky didn't just bless R&B artists; he was also good for adding a bit of swing and melody in a rap track.

He was also great for a good ol’ hip-hop hood love story.

Like I said, all of the Hitmen also had key classics outside of the Bad Boy roster, Chucky included. He’s a regular collaborator with Nas.

THE MVP: Stevie J

In 2019, Stevie J. is known mostly as a reality TV star, and there’s an entire generation of people watching his exploits and ego like “I don’t get it.” But his self-aggrandizing is kinda justified: he was an integral part of one of the hottest eras in urban music history. Listen, “Steebie” ain't sh*t. Ain't never been sh*t. But he is talented as hell. The PK (pastor’s kid) plays multiple instruments, writes, arranges, sings…

Stevie said in his own response to the Top 50 list, there’s a difference between a beatmaker and a producer. Steven Jordan is a producer.

Stevie came into the Bad Boy fold working with Jodeci, and at one point was was part of Devante's Swing Mob collective. He was the on-call person when Puff needed a specific touch. Much like Puff himself, Stevie was good for making a track sexy (“sexy” is a tangible thing at Bad Boy).

Like Deric tried to do with “Feels So Good,” other producers would kick certain songs over to Stevie when they felt like it was something destined for the pop chart by way of the dance floor. “One day Mase comes in the studio… he pulls up a Diana Ross record, ‘I’m Coming Out.’ He was like ‘Yo, Nash, hit that for me. I need that. I want to do that.’” Nash once shared. “I was like, ‘Nah, that’s not me. Steve about to come here. Let Steve do that.’” Mase took it personally and was allegedly never really good with Nash after that, but Nash wasn’t trying to be shady. “I knew I couldn’t bless it like Stevie. Stevie comes in, does it, it comes out, sold 2 million.” Then Puffy heard it, said it was fire, and told Mase it was going on Big’s album (poor Mase).

In my personal opinion, Stevie and Puffy were very similar. They had the same flair; Stevie moved a lot like Puff back in the day - you’d catch him out with full-length furs, platinum crosses and Jesus pieces, and no shirt on - which made him a perfect collaborator.

But that also meant they were destined to eventually clash. Similar to young Puffy while at Uptown, Stevie was hungry to grow, telling VIBE in ‘98 “I wanna see my name in big lights without Puffy as well as with Puffy.” With his ability to add live instrumentation on top of samples and loops - or even recreate samples on the spot - Stevie was an MVP for the team and contributed to two of Bad Boy’s most anthemic hits.

Stevie had a strong run of success outside of the label, too, if not long-lived.

He co-produced several songs on Mariah Carey’s Butterfly album, garnering his second Grammy.

While not the biggest of his hits, one of my personal favorite Stevie J contributions is Dave Hollister’s "My Favorite Girl," his debut solo single after leaving Blackstreet. I love this song so much, because it is so soulful, has so much church up in it, but is so damn disrespectful. If you listen closely, you can hear Stevie in the background vocals.

THE BABY: Mario Winans

Mario Winans kept things poppin’ when the veterans started leaving the fold, bridging the gap between the classic Bad Boy era and the P. Diddy and the era with The Family, G Dep, Danity Kane, Da Band, and Dirty Money.

He’s like a Stevie J. Jr with a touch of Chucky: a church-raised musician (his mother is Vicky Winans) who could play multiple instruments, write and sing.

He brought the sexy...

The core R&B feel…

And he was an artist in his own right.

But if Mario never did anything else in his career, we are thankful to him for these two classics. I’m team Part 2, by the way.

THE MOST KNOWN UNKNOWN: Rashad "Ringo" Smith.

Ringo Smith is a wildcard member of the Hitmen. There’s almost no info on him - google him and you’ll find some credits but no real interviews or video footage. I’ve worked in this game my entire career and never heard anybody say, "Yo, Ringo Smith is dope." And yet, he’s respected enough in music circles to have been one of the faces memorialized on A Tribe Called Quest’s iconic Midnight Marauders cover.

But the super low key Smith produced some of Bad Boy’s biggest early bangers.

He belongs in the hall of fame for this alone.

Ringo even made some of your non-Bad Boy faves from this era. “Doin’ It” was originally intended for Big’s Life After Death follow up, which is why “Go Brooklyn” is sampled throughout a song by the very-much-from-Queens LL. *Makes it hot*

I called Ringo a wildcard because he could move in so many different directions. He doesn’t have a sonic signature.

He could effortlessly go back and forth between left-of-center and shiny, happy, everybody-report-to-the-dancefloor right now.

THE EXECUTIVE PRODUCER - PUFF DADDY

Finally, we have to address the team General Manager (literally; all Hitmen were managed by Puffy). There's been a lot of speculation over the years about Puff as an executive producer. Did he just come in and push a button and get EP credit? But a majority of the Hitmen have said on record that Puff has the most important element of a good producer: the ear.

Hitmen Jeffrey “J-Dubb” Walker and Anthony Dent talked about Puff’s strengths as a producer in a round table with other members of the team for The Urban Daily. He echoed the same sentiments Puff shared in Hip-Hop Evolution. “People say Puff can’t play an instrument, he ain’t no producer. You ain’t gotta play sh*t to be a producer,” J-Dubb argued. (Clearly, that standard for producers is long gone) “He knew what he heard in his head and he knew who could make that happen. … That was his job!”

Anthony added an example from his early days with the team when Puff asked him to turn off the sample machine while he was talking to him. “(Puff) was standing by the SP and I said, ‘It’s right there, turn it off.’ He looked at the equipment and said ‘Playboy, I don’t know how to work none of this sh*t in here. I know how to make a hit.’ And that’s when it hit me: You know how to put a record together, you’re a producer.

So the Hitmen were not just a  ‘70s and ‘80s sample factory - but also, why was there even so much hate around sample-based hits (aside from the whole not seeing any back-end money because of publishing thing)? As Nash exclaimed at A3C, “Hip-Hop was created by taking an old record, rapping on it, and making it new again. That’s how the foundation of Hip-Hop started, so how could you be mad at what we’re doing? We were just doin’ it on another level.”

From the perspective Puff shares in Hip-Hop Evolution, crossover or not, the music was still serving us: black folks. “I just started to choose real big, worldwide samples, and I figured out how to keep it black as a mothafu**a. And they would go pop, but they would still be so fu**ing black. We make that cookout music, we made that get married music, we make that make that make your baby music.” As much as we look back on the shiny suit era with disdain today, after years of gangsta and mafioso rap, we needed some party music. We needed fun hip-hop. And there’s a reason the songs still hold up: the samples were classic and the production was flawless. In my opinion, the sole difference in good production versus flash in the pan ish is whether or not you can run the track in 20 years and it still feels fresh. I guarantee you danced to a Hitmen-produced track at least once this summer. All their top joints still feel fresh.

Even though the OG’s are long gone and the days of Bad Boy as a full roster of artists and producers are gone as well, the Hitmen are a lifetime fraternity. Going back to the VIBE interview 20 years ago; the vets were just starting branch out. Deric was cultivating Crazy Cat (with more John Blaze), Stevie was working on his own stuff (he didn’t even show up for the photoshoot, on some superstar ish). But Deric, in true team captain fashion, insisted it didn’t mean there was bad blood. "In fact, it's endorsed.” He insisted. “When Puffy assembled us, the first thing he said was, `It's gonna take time for y'all to become what y'all need to become, but at the end of the rainbow, there could be label deals, production deals....' So kill all the rumors. If Stevie J. leaves, if Deric leaves, we're still Hitmen. Our line to each other is, `Once a Bad Boy, always a Bad Boy.' "

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#MusicSermon is a series by Naima Cochrane that highlights the under-acknowledged and under-appreciated urban artists and sub-genres from the '90s and earlier. The series seeks to tell unknown and/or forgotten stories that connect the dots between current music, culture and the foundations of the past.

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Stacy-Ann Ellis

20 Minutes With Davido: The Afrobeats Giant Talks Confidence, Timing And Strong Foundations

Davido can’t sit still. Maybe it’s early afternoon energy or impatience or knowing that his press rounds for the day aren’t winding down for some hours. Or maybe it’s just the fact that he’s sitting on what he considers to be an audio goldmine. David Adeleke, the gifter of astronomical hits like “If” and “Fall”—two-year-old songs with gravity still strong enough to pull Snapchatting wallflowers and clumsy dancers to the center of the floor—knows there’s much more where that came from.

“It's an album for everybody, I'll say,” he says of his forthcoming album, A Good Time, with a smirk. “I feel like everybody will have at least three songs they love in different genres.”

Technically speaking, the Atlanta-born and Lagos, Nigeria-raised artist has made a moderate splash on the Billboard charts, the metrics most artists use to quantify their success and measure progression in the industry. (In 2019, “Fall” became the longest-charting Nigerian pop song in Billboard history thanks to admittedly delayed radio push.)

However, Davido’s worldwide footprint speaks louder than a few hard figures. This year alone, he’s sold out shows as intimate as nightclubs and massive as London’s O2 Arena, rocked sets at Essence Music Festival and Hot 97's Summer Jam, and was an international headliner abroad at Oh My! Fest in the Netherlands, Afro Nation Portugal, and eventually Afro Nation Ghana alongside afrobeats greats he can safely consider peers.

July summoned his album’s breezy lead single “Blow My Mind” featuring Chris Brown, and a burst of new guest spots this month are carrying that same fresh energy into October. Davido was featured alongside Jeremih in “Choosy,” a new release from Fabolous, as well as on Brown’s “Lower Body,” a newbie on the extended version of his Indigo album. To say he’s ready to fan the mainstream flame with fellow afrobeats and afro-fusion hitmakers is an understatement. “Let us in, open American doors,” he jokes, knowingly. “We will finish everybody.”

In between banter about the turnup we’re missing in West Africa—trust, December in Africa is a thing—Davido opens up about his A Good Time (a genre hodgepodge guaranteed to please), the source of his success (part luck, part work ethic), and afrobeats’ undeniable global appeal.

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VIBE: Tell me about how your 2019 has been so far? Davido: 2019 has been a journey. It’s been the longest time that I’ve spent away from Lagos probably since I came to school in America. Reason being, just wanted to focus and get new energy, new environment to record the album. There’s just so much going on back home, so we’ve been out here the whole year, basically. “Fall” blew up and then we just came out here and worked with it. That album is about to come out and it’s gonna be crazy.

Given the momentum and expectations that come with it, are you more excited or nervous about this next album? I’m not nervous because I’m confident about the music. I’m just anxious to see what the next stage is, the next step. I like to challenge myself. When you reach a stage, you want to challenge yourself to reach higher stages.

You said it’s been the longest time you’ve spent away from Lagos. Is that a good or bad thing? No, that’s good. To me, it's a new energy. The people miss me, of course, but sometimes it's good to be away. To just step back and see where you’re at in your surroundings and stuff like that. I think every artist needs that.

Sometimes when you're too present, people think they know what you're going to deliver. Exactly, and me being out here recording, all my producers I flew in from Nigeria. It's not like I left my team. The whole team is here, so people ain't really heard the music. Back home, in my studio, it's like everybody comes through, so I can imagine recording my album back home, four or five of the songs would have probably leaked already.

You had a great year and so has music from African artists. What has it been like to watch that happen, to see us latecomers catch on? I felt like it was always going to happen. Even when I was in school in Alabama, when I used to play Nigerian songs from artists that were the top artists then—they were the biggest artists, like D’banj, P-Square—when I used to play their music in my dorm room, my American friends would love it. I always knew it was a thing that once America heard it, they would love it. Afrobeats, you hear it once, twice, I promise you, it's going to ring. So I feel like it was just for the people to hear it. Give us a channel to be heard. Radio, now you have social media. Back then all those things weren't in place. Now you have things in place where even if it's not in your face, one way or the other, you can find it. I think if you had all those things back then, social media and the support, it would've been the same.

 

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A post shared by Davido Adeleke (@davidoofficial) on Aug 23, 2019 at 2:42am PDT

Were you frustrated with how long it took? Not really, because we've got our stuff going back home, too. You know what I'm saying? Even me today, I make most of my money from back home. And even before afrobeats got mainstream in America, we’ve been coming to do shows. I did a show in New York in 2013 to 5,000 people, and this was when I didn't have most of my big records I have now. Sold it out. But now it's mainstream. You have Live Nation now partnering with us to do shows. Back then it was just like local promoters selling tickets at the clubs and we still had the numbers. Now, our fans can put on the radio and hear us.

It even gives them more confidence. Confidence to be like, you know what? Let's go out and support this culture. So that's why the Afro Nation festival in Portugal, it was bigger than Coachella to me. It just shows that you just needed that platform, and then the fans needed the confidence to come out and really support. The next step now is getting the fans to buy the music because we have the numbers, but you've got to come out and buy it. That's the only way we can really break. The music is spreading. It's on the radio. Everybody’s doing shows. Everybody's touring, but now the next step is getting these sales up.

In a way, that’s most artists’ problems now. Touring is the moneymaker. That and streaming. There's nothing really wrong with streaming. That is why they want us to appeal to the Western crowd because those people buy music. Those people buy merch, blah blah blah. But we have to do what we know how to do. So the Western [crowd], they're actually buying it, but we need our real fans to come and be like, yo, Davido album dropping. It's a campaign—80,000 copies the first week, let's go out and buy. Look at the Latin industry. They're doing numbers. So apart from the music getting big, I feel like, yes, the music is getting accepted, but where are the numbers? When you walk into a building, it's all about numbers. It's not about if your music is sweet or this, or that—it's all about the profit. That's what we'll be working on getting up.

What are your thoughts about seeing really large artists pay so much homage to the afrobeats sound? I mean some people find it offensive, but I actually don't. I mean, first of all, people in Africa do hip-hop, right? So you can't come and say these people are taking our sound when we have artists back home doing trap, doing all these things. I feel that everybody should feel free to do what they want to do, but maybe it won't hurt to evolve. Like, I feel like it was nice how Swae Lee had Tekno produce that record for him and Drake, stuff like that. And they have more of our producers more involved in the sound because those are the ones who really know how to get the sound. Yeah, I think the producer side needs more shine but apart from that, doing afrobeats is [for] everybody. Any artist is free to do any kind of music they want.

Who are some of the producers that we should know? Give us a starter list. I mean, first of all, Shizzi, that's my producer. He did most of my stuff. And we have Kiddominant, that's my other producer. And we have Speroach, this dude Rexxie, he's the one that's doing all the Zanku songs. So he's going crazy. But I feel like they should bring all these artists out here, get a camp, put 'em all in one room and trust me, they'll make magic.

Do you still consider yourself an afrobeats artist now? Some of your counterparts like Afro B and Burna Boy have classified themselves as afro-wave or afro-fusion. I'm just an artist, man. I'm just a musician. Every kind. Of course I do afrobeats, but I'm just a musician. Worldwide musician. World music.

You mentioned the Latinx music scene. Is there anyone you’re looking to collaborate with from that space? Bad Bunny, Maluma. I really want to work with them. I might get a studio session with them when I get back from Nigeria.

How would you say your sound has progressed over the years from your try at making music to now? Of course [when] you're growing, you learn. Sometimes I don't even listen to some of my earlier records, even though I always used to put a lot in my records so it's not like that shit was whack. It was cool but I can see the growth and the quality of the music. Back then we didn't really focus on our sound and mixing and mastering. We’d really just record, next day release. Right now, it's a whole package and music has to be perfect. Right now, they’re playing Nigerian music on the radio, African music, and after African music, they start playing American music. You don't want the level of the quality to drop. And planning. I'm at the label now. Before I could just wake up and just drop, but now they gotta submit the single two weeks before. You know how it is. So, of course, it's way different now from like four years ago.

What else have you learned about yourself personally and the way you work? I'm really, really, really free with my work. I don't really bother myself with strategic planning and stuff like that. What's most important to me is the music. Once the music is good, I feel that's really all you need. And, of course, a good team around you and they're doing what you want. Connect with your fans. Very important, connect with your fans. Don't lose touch of home because that's your foundation, really. Without that foundation, you can't really be big in America when you don't have that foundation in Nigeria. An example is, I've known a lot of American artists for a while who are bigger in America, but when they came to Nigeria they saw the love I get at home. Then coming back is like, the respect is different. They'd come and they were like, Yo, you're the president. You know what I'm saying?

When was the first moment that you realized where you stood with your hometown? That they would be such a solid support system? That was probably for my first song, really. From the first record, man, it's just been love. Davido this, Davido that, negative, positive, negative and whatever.

Negative? What's the biggest critique you've seen of yourself? I don't know. Probably my voice. That's the worst I can think of. I can't think of nothing else.

What's the most memorable place you've ever performed? I've got a couple places. O2 Arena [in London]. I just did [Madison Square Garden] with 50 Cent [for the Power premiere]. That was cool.

Walk me through that. He [50 Cent] brought me out. It was just crazy cause I ain't really met him before. I met him at the pool party or something like that, when I was performing at the pool party, and the reception when I performed was crazy so I think it got his attention. The next day he called me up to perform at MSG.

And then in July, you headlined your first international festival. Oh yeah, yeah. Amsterdam. Yeah. Oh My! Festival, and then Afro Nation, too. This summer was lit, but next summer is about to be dumb lit. This fall's about to be lit. Album's coming October.

One thing I notice about you and the progression of your career is that it’s fueled by a strong sense of faith and confidence. Where do you get that? It just depends, man. Honestly, it's not even confidence. I wouldn't say that Nigeria spoiled me, but like bruh, they just showed me so much love. Like, I didn't really go through like a lot of things. I just dropped and it just took me... I didn't really have to overkill myself. They just kept me there. I don't know why they liked me so much, (Laughs) but they just kept me there, kept me comfortable, kept me confident. Always came out to all the shows, supported all the music. It's just love, everywhere is love. Even the love for Davido spreads to everybody around me. My family members.

Have newer artists in Nigeria or on the continent asked you for advice? If so, what do you tell them? You have to be very hardworking and ready to play the part. That's what they're always asking. But everybody has their different ways of getting to where they need to get to. My way might be different from somebody else's way, but most importantly is just be ready to work hard and the music has to be good. Once the music is good, get your team right, and just work hard. I feel like the other steps, you kind of figure it out yourself.

Who do you think is next up in terms of afrobeats artists?  I mean, there's a lot of other artists. It's like 500 of us. Let us in, open American doors, we will finish everybody. There is a lot of us. I feel like before you stand up and leave Africa, like, yo, I'm going to chase the dream in America, I'm going to chase the dream in Europe, you have to make sure your foundation, your home is super strong.

Is it still a goal to capture or change up the American market? No, not [to] change it, we just want to join it. Add us. We should have our own chart, I think. You know what I'm saying? Like if reggae could have their own chart, I think we can have ours, too. Or let us in the main chart, something. But I feel like it's gonna happen, man. It's been happening, man. Most importantly, I'm happy that American artists themselves open their arms for us as well. I got a lot of records dropping that are not even myself, they're their songs featuring me. Stuff like that helps us as well.

What can we expect from the new album? Just a lot of good songs. It's an album for everybody, I'll say. I feel like everybody will have at least three songs they love in different genres. It’s going to be 13 songs. Well, I’ll probably have "Fall" and "If" on there, so it's really like 11 new songs. But yeah, it's going to be an album for everybody. Trust me. Every type of song is going to be on there. Predominantly afrobeats-infused, of course. Mainly my producers and a lot of your [American] producers, too. With features, me and Chris got a second record.

And lastly, since you speak highly of your foundation, what is the best thing about Nigeria? The people. The attitude, rich or poor. It's just a jolly place. You would laugh, comedians everywhere. There's some bad, bad spirits sometimes, (laughs) but for the most part, it's a very beautiful place.

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Nickelodeon

How 'My Brother And Me' Resonated With A Generation Of Young Black Men

In terms of cultural impact and influence, the '90s ranks as one of the defining decades for black entertainment of the past century. This proves particularly true in the realm of television, with a number of landmark programs debuting that reflected the life and times of blacks in the urban community and beyond. While the '80s produced groundbreaking sitcoms like The Cosby Show, A Different World, Family Matters, 227, Amen, and Frank's Place, all of which featured predominantly black casts, these shows were few and far in between.

However, the arrival of a new decade coincided with an influx of programs starring black leads, with shows like Martin, The Fresh Prince of Bel-Air, Living Single, Hangin with Mr. Cooper, Roc, Thea and South Central all making their debut. While these shows were hits across various age groups, they all starred and revolved around actors of age, in some form or fashion. One of the first programs to divert from this formula and place the focus squarely on adolescents was My Brother and Me, a sitcom that often gets overlooked when listing the pivotal shows of its era.

Making its debut on October 15, 1994, My Brother and Me was among the first live-action series to air on Nickelodeon and the first to feature a predominantly black cast. Created by Ilunga Adell and Calvin Brown Jr., and directed by Arlando Smith and Adam Weissman, the show centers around brothers Alfred "Alfie" Parker and Derek "Dee-Dee" Parker, the two youngest children of parents Jennifer (Karen E. Fraction) and Roger Parker (Jim R. Coleman) who experience the typical growing pains of pre-pubescent young men that are coming of age.

Additional core cast members include Alfie and Dee-Dee's older sister Melanie Parker (Aisling Sistrunk),, Alfie's best friend Milton "Goo" Berry (Jimmy Lee Newman, Jr.) who has an infatuation with Melanie, Melanie's best friend and Donnell's older sister Dionne Wilburn (Amanda Seales), Dee-Dee's best friend and Dionne’s younger brother Donnell Wilburn (Stefan J. Wernli),, Dee-Dee’s other best friend Harry White (Keith "Bubba" Naylor), and local comic book store owner Mrs. Pinckney (Kym Whitley).

Set in the suburbs of the west side of Charlotte, North Carolina, My Brother and Me was the Nickelodeon's answer to Sister, Sister, a sitcom on ABC starring identical twins Tia and Tamera Mowry that had debuted earlier that year. With a beat writer for the local newspaper for a father and a school teacher for a mother, Alfie and Dee-Dee enjoyed a stable living environment in which they could thrive academically and socially while simply being kids. A middle-class family with access to all of the basic amenities, the Parkers' economic situation was in stark contrast to the usual scratching-and-surviving, rags-to-riches themes often associated with sitcoms geared towards people of color.

While removed from the harsh realities that often accompany life in the inner-city, the Parker boys were drawn in by the allure of street culture, with Alfie and Dee-Dee both being avid fans of hip hop music, fashion, and style. This love affair would be the driving force behind various episodes, most notably "Dee-Dee's Haircut," during which Dee-Dee allows Goo to butcher his hair after marveling at fellow student Kenny's "Cool Dr. Money"-inspired haircut. Going as far as handpicking designs out of a rap magazine Donell borrows from his sister Dionne, Dee-Dee goes to the extreme in an attempt to mirror Kenny and Cool Dr. Money, a testament to the influence hip hop holds over him. His affinity for the culture is also reflected in the "Donnell's Birthday Party" episode, during which the impressionable youngster mimicking dance moves from a rap video in hopes of tightening up his dance skills.

Alfie and Dee-Dee may have been the intended stars of the show, but to many viewers, the most memorable character from My Brother and Me was Goo, who stole scenes with his humorous wisecracks and mischievous hijinks, often at the expense of Dee-Dee and his friends. From showering Mrs. Parker with disarming compliments to masterminding various plots and schemes in an attempt to get himself and Alfie out of trouble, Goo proved to be the most entertaining member of the show, exuding swagger and confidence that are palpable to the viewer and as hip hop as it gets. On the other hand, Alfie, who is not as overtly demonstrative in his rap fandom as his younger brother or Goo, reps his allegiance to the culture more subtly, with his haircut, backward caps and boisterous mannerisms.

While race was never a prevalent topic on the show, if one was to look closer between the lines, My Brother and Me was unapologetically black and pridefully so. Take, for instance, the various nods to HBCU culture throughout the show, including Roger Parker's various North Carolina Central University sweatshirts and hats, Alfie's Morehouse fit, and insignias from various black fraternities. One other common thread of the show was its incorporation of sports, starting with the Parker household's fandom of Charlotte's local professional franchises on full display, as Charlotte Hornets and Carolina Panthers memorabilia are all visible throughout the household. Cameos also included appearances from NBA stars Kendall Gill and Dennis Scott, the latter of whom teaches Alfie, the superior athlete of the Parker brothers, a lesson in selflessness and teamwork by cutting him from the school basketball team in "The Basketball Tryouts" episode.

Of all of the aspects of My Brother and Me that made the show a game-changer, the fact that it was one of the first times young black males saw themselves in characters on the TV is the most enduring. While plenty of shows and networks fixated on coming-of-age storylines centered around the privileged youth of white America, My Brother and Me provided the alternative, promoting the bond of brotherhood and family values with each episode aired. Preceding shows like Kenan & Kel and Cousin Skeeter, both of which implemented overt comedic or fictional elements, My Brother and Me was a realistic glimpse at the life of the average black boy in America without the overarching narratives of impoverishment, temptation, and despair. For many young black men born in the '80s, the show left an indelible impact on them and holds a place near to their heart a quarter-century later.

In spite of its critical acclaim and popularity, My Brother and Me only aired for one season, as it was canceled after airing its final episode on January 15, 1995. The network would air reruns into the early 2000s before returning briefly during The '90s Are All That block on TeenNick in December 2013, the last time the show would appear on television. In June 2014, Nickelodeon released My Brother & Me: The Complete Series as a two-disc DVD, giving a new generation of viewers and longtime fans of the show an opportunity to relive the magic that the show captured during its short, yet unforgettable run.

In the years following My Brother and Me's cancellation, many of the actors and actresses from the show would fail to find their footing in the entertainment industry, resulting in their acting careers fading into obscurity. Arthur Reggie III scored a few additional credits, appearing in the TV shows Sliders and C-Bear and Jamal, as well as the 1998 film Bulworth, but later transitioned into a rap career, performing under the name Show Bizness. My Brother and Me would mark Ralph Woolfolk's last appearance as an actor, as he decided to leave the industry behind and focus on his education, pursuing a degree in English at Morehouse College in Atlanta, while also attending law school. He is also a member of the Alpha Phi Alpha fraternity and currently serves as a police officer for the city of Atlanta. Jimmy Lee Newman, Jr. scored bit roles in the TV shows Sweet Justice and Sister, Sister in the subsequent years after the show, while Aisling Sistrunk, Stefan J. Wernli and Keith "Bubba" Naylor would never act professionally again.

However, a few members of the cast were able to sustain viable acting careers well beyond My Brother and Me's cancellation, most notably Amanda Seales, Karen E. Fraction and Jim Coleman. Seales would rebrand herself as Amanda Diva and become a successful media personality before transitioning back into acting, last appearing as Tiffany DuBois on HBO's "Insecure." In 2019, Seales debuted an HBO Comedy Special I Be Knowin', and was chosen as the emcee for NBC's comedy competition, Bring the Funny. Jim Coleman has kept himself busy with various roles over the past two decades, last appearing in "The Council," and continues to receive steady work. Karen Fraction would add a few additional credits to her resume after "My Brother and Me," but passed away on October 30, 2007, after a five year battle with breast cancer. She is survived by her two children, Lauren Elizabeth Jean and Lawrence Wm. Morris, and her husband Lawrence Hamilton. And last, but not least, Kym Whitley would enjoy a fruitful career on television and on the big screen, appearing in dozens of shows and films throughout her lengthy career, with her latest role being Mrs. Malinky in the Netflix animated comedy Pinky Malinky.

In the time since the debut of My Brother and Me, a lot has changed in terms of the presence and representation of black youth on television and beyond. A number of black actors and actresses have had the opportunity to shine in a big way, including Tyler James Williams (Everybody Hates Chris) Zendaya (Shake It Up), Kyle Massey (Corey in the House), Keke Palmer (True Jackson, VP), Miles Brown (Black-Ish) and Alex R. Hibbert (The Chi) all among the more prominent child stars making major waves on TV over the past two decades. That said, 25 years later, the fact remains that My Brother and Me was ahead of the curve as one of the first instances of seeing ourselves in a positive and uplifting light on the small screen.

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Darren Xu

Brent Faiyaz Channels International Life Into New Musical Gems

Finishing up his summer in Europe, Brent Faiyaz (born Christopher Brent Wood) indulges in spiked mimosas and enticing conversations with his team after handling business for the day. Jet-setting overseas to add more memories to his life’s reel, the singer-songwriter and producer just celebrated his 24th birthday days before. “I think anytime you go places internationally you get a different perspective," he says. "I felt like creatively, it would bring out some more shit.” Many doors have opened for the DMV crooner since he first appeared in front of the public’s eye with his single “Natural Release” in 2014. Pulling pages out what seems to be his journal entries, Faiyaz shares his autobiography through the dynamics of string ballads, haloed hymns, and tinder timbre.

The Columbia, Maryland R&B talent has shared his soothing vocals with fans ever since. Studiously making beats from the age of 12 or 13, it wasn’t until after graduating high school and moving to Charlotte with his parents that he began to invest in music full time. His rhythmic resonance and gut-punching lyrics turned into his first five-track EP speaking to women, relationships, and sex in A.M. Paradox in 2016 with his hit single “Poison.” He formed a group called Sonder with fellow musicians Dpat and Atu, and released a group EP with them called Into before dropping another solo project, Sonder Son. The 12-track project delved into his childhood: he brought his fans right into his living room in “Home,” gave them a seat at the table in his classrooms in “Gang Over Luv,” and walked his newfound Los Angeles streets with them in “L.A.” He then unleashed his tightly knit six-track EP Lost with standouts “Trust,” and “Around Me.”

“I come from a very real place. I think that I can give a lot of people around me a lot of real perspectives. I’ve been seeing a lot of people in certain avenues gravitate towards a nigga,” the LA-based artist said.

The indie artist truly received a standing ovation after organically co-creating the 2018 Grammy-nominated single “Crew” with GoldLink and Shy Glizzy. “I’m going to be real; I didn’t go into music with the intention of being an independent artist, especially not this long. But then [I] hopped onto “Crew” and we fucked around a got a hit record without even being signed to a label. After that I started getting paid so I was like ‘Fuck it, we really don’t need that,’” he said.

His first 2019 summer single “Fuck the World (Summer in London)” opened a perspective of contronyms that approached both the literal and lustful world. What he calls “the woes and the woes.” “Meaning the shit that I hate. [What] is terrible about life right now that’s fucked up, fuck the world on the negative end, middle finger fuck the world,” he says. “And then it’s ‘Fuck the World’ where it’s like the girls and the money and the clothes and the bullshit.”

He later dropped his latest track a month later. “Rehab (Winter In Paris)” mirrors a story when the singer was balancing his personal time while being addicted to a person who is addicted to a substance. With “Rehab” already penned, Faiyaz went to producing the track alongside No ID, known for his work with rap greats like Jay-Z, Common and Kanye West. “He’s an OG. I soaked up a lot of game from him. I locked in with him for a whole week and cut a bunch of ideas.” Observing the producer's process, Faiyaz implemented some of No ID’s ways into his own. “I would take certain shit he said and put that in my own shit. Real talk, he is one of those niggas that will put you on game.”

With a uniqueness to his voice that is charming yet elusive, the singer has raised eyebrows by not resembling the stereotypical genetic makeup of a rhythm and blues artist. “I don’t really know how a sound is supposed to look. If somebody tells me how a sound is supposed to look, I will understand,” Faiyaz chuckled. “I don’t really connect the two. I can’t change how I look; I can’t change how I sound. I’m going to keep doing me.”

During what one could consider a hiatus, the vocalist used that time to focus on his craft, give back to his mom, jump on A$AP Ferg’s album Floor Seats, and walk in Pyer Moss’s New York Fashion Week Show. As he has geared up for a musical return that will unveil a different side, Faiyaz is under renovation. “I [don’t] want to give people the same sh*t that I’ve been giving them this whole time. I’m not about to put out a new project and it sounds the exact same as the last project. I want to keep reinventing myself as this sh*t goes on.”

“Right now, I am probably the most creative that I’ve ever been.”

Brent has successfully left his fans longing for more all while remaining authentic, not purposefully trying to create any kind of enigma around himself. “It’s not a goal of mine to be on the tip of everybody’s tongue all the time.”

With the year wrapping up, the 24-year-old is “pushing boundaries” as he prepares to release more original melodies. While he experiments with the production elements of his music and strengthening his vocals, the artist is effortlessly surprising himself in the studio. “I’m kind of saying whatever the fuck I want to say on the track and somehow it’s coming out pretty good. I know how to put it in a way where it comes off ill.”

Plotting his next moves, the creative has become enthralled with art all across the board in his performances as it translates to visual art. “I’m really learning how a bunch of different avenues go aside from just music. I’m on my young renaissance man shit.”

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